§ Actually, Julian Darius wrote the headline used in this KnB title, but it’s the essential comics match up of all times, right? Also, Winsor McCay wasn’t a very good letterer. IN case you’re wondering where I stand, I love them both, but I’ve always been a Krazy Kat girl—there was just more substance to it.

§ Speaking of great early 20th century comic strips, here’s a write up of Peter Maresca’s recent talk on this topic, which I really wanted to go to, but couldn’t, luckily…here’s a write up by Monica Johnson.

Malaysian Cartoonist Club executive council member Ahmad Hilmy Abdullah said the idea to introduce the award was mooted by Malaysian cartoonist icon Datuk Mohammad Nor Khalid or Lat, together with other cartoonists in the country. He said with the involvement of many cartoonists and animators in the country’s arts industry now, it was time for such an award to be introduced.

CA: What sort of responsibilities are at the top of the list for someone in your career?

AS: You have to be a good communicator, writer and people person. I’ve met people who are very organized, detail-oriented and know a lot about comics, but they can’t have a conversation. That’s fine, but you’re probably not going to be a publicist. Like I said before, you can have all the contacts in the world, but if you don’t know how to talk to them – as honestly as possible – then it’s pointless. Writing skills are key – you have to be able to craft convincing text, whether it’s an email to a reporter, a pitch letter with a review copy or a presentation to your internal staff – you have to know how to string sentences together that are clear, easy to understand and that have a point of view. We’re on a 24-hour news cycle now. I know that’s a tired term, but it’s true. If that email you send to a reporter is long-winded, doesn’t get to the crux of your pitch right away or is confusing, you’ve lost that moment and you may have lost that reporter. Also, if you make a mistake, own up to it. We’re all people, we all have bad days – I think being human in a situation where your job is all about interacting with people inside and outside your office is really important. I’m not perfect at this, but I try to be as understanding as possible. You have to be a social creature. You have to know how to have a conversation with a complete stranger without too many awkward pauses. You should be a good listener, because publicity isn’t just about telling, it’s a conversation. You should go into a pitch knowing that the detailed thing you’re offering isn’t going to come out exactly the way you planned it because it’s going through the filter of someone else. But, knowing that, you should let the people who are also waiting on the story from your side know the chance of this.

In its way, it’s oddly disheartening to see both men — who, to different degrees, owe much success to the very things they’re campaigning against — make these comments. Part of it is the uncomfortable feeling of gratefulness that ensues, sure, as well as that awkward sense that maybe all creators eventually become curmudgeonly and begrudge that which they’re no longer a part of (See also: Alan Moore, Frank Miller). But even moreso, there’s the fact that, really..? Both men are wrong.

I have two favourite books set on ships (it’s a rather specific thing)- Ian Edginton and D’Israeli’s Leviathan, and this. Both manage to convey the monumental size of the engines, the scale of pipes and machines, the heat and grime, the noise, the knots of metal, the atmosphere. Much like spacecraft in sci-fi films like Alien, the ship here is a character in itself, and these are the innards; the belly of the beast which set the tone of what’s to come as the men become lost and confused, delving further into their psyches. Blain’s gone hatching happy in this panel: it’s the first time the men are seeing below deck and the combination of impressive grandeur and realistic depiction is on point- all twisty, bronze pipes, looming space, steam and shade.

I also have a soft spot for comic books set at sea where people slowly go nuts or have horrible, horrible things happen to them, including both of these. Among the others: Mattotti’s Fires, Drew Weing’s Set to Sea (just rereleased), Sammy Harkham’s Poor Sailor, and Tony Millionaire’s Maakies much of the time. There’s also Chris Wright’s Blacklung, which I didn’t enjoy as much because his character designs seemed inexpressive to me. I know that’s part of his style, but it just didn’t work for me.

Heidi MacDonald is the founder and editor in chief of The Beat. In the past, she worked for Disney, DC Comics, Fox and Publishers Weekly. She can be heard regularly on the More To Come Podcast. She likes coffee, cats and noble struggle.